I don't usually post the source material I use for my paintings. There is always the risk that it will ruin the magic of the illusion I'm trying to create. But this is a studio blog after all, and maybe just this once, I feel compelled to pull back the curtain for those who want to take a peek.

The finished painting is entitled "An Apparition of Two". It's 42" x 55", oil on canvas. This is an installation shot from a recent exhibition.

The composition is a merging of two images, both of which I dissolved through my inkprint process that I've described before. The original images are from a fashion editorial from the March 2010 issue of Vogue (Russia) and Gustav Klimt's "Mäda Primavesi" (1912). It was a weird twist of fate that I even tried to layer the images together, but once I did, the relationship between the two images became immediately and eerily apparent.

I'm intrigued by the ambiguity that results in the final painting. There is a strange merging of faces, of eras and of media. The two faces become an unstable apparition of a girl that appears no longer young yet not quite grown. Mirroring Klimt's iconic image of the past, the painting catches a photographed pose of the present in its reflection. Photograph and painting come together in a vulnerable exchange of emotion and empathy.

It was the first time I painted with glazes of color, and the richness of the surface surprised me. I want to push that more in the works to come, and hopefully continue to find fated pairings of source imagery. I may not share the source material again in the future though. So for now, I hope this peek behind the curtain enhances and doesn't detract from your experience of the painting.

While it seems everyone else is obsessing about the new and the now, I've recently been obsessing about the old and the historical. OK, maybe not just recently. My work has always centered around my interest in the history of painting and its contemporary relevance. But I finally got up the courage to go beyond just looking at images of the Old Masters, and extend my experiments in process to include some of the academic techniques of painting that have secretly held my curiosity (I can hear the contemporary painters GASP-ing in horror!). But I just wanted to know: how do they get such refined surfaces? how do they paint all that delicate lace and those reams of diaphanous ruffles? Can I legitimately call myself a painter and not know how to do these things?! (I can hear all the painters yelling at me -- "yes! of course you can!") But for me, I just couldn't. I had to know -- and actually try to do it, even if not masterfully.

Since no one actually taught me how to use oil paint, I have basically taught myself an alla prima method that has given my work a loose brushy style. I like the effects I've been able to achieve so far, but lately I've been feeling limited in my technique. In my new paintings, I want the surface to be more ethereal, more delicate, but still strong and complex. So I secretly signed up for a mini-workshop to learn the basics of traditional oil painting. In particular, I wanted to learn more about the glazing techniques that create such soft and mysterious surfaces (and that are usually skipped over at art school, dismissed as too time-consuming and old-fashioned).

Here are the results of my preliminary efforts:

My preliminary copy of Ingres' portrait. I won't refine my painting any further. I get the point. But kinda cool, isn't it? Whenever I do something I didn't think I could do, it feels like magic.

I know this is generally considered very passé in the contemporary painting world, but can I admit how fun it was? The final glazing step (which I only got to on the face) was a revelation. I have such a naturally light touch to my hand that this technique seemed made for me -- soft tiny brushes, strokes as light as air, veils of glossy color. SO FUN! Not that my paintings are suddenly going to start looking like Ingres'. For me, this meticulous old process made me not only understand so much more about the techniques of some of my favorite Old Masters like Velasquez and Goya, but opened my eyes (and abilities - and/or perhaps just confidence?) to so many more possibilities in the application of paint in my own work. My new paintings are already in the works. Nothing like a quick blast from the past to help catapult me into the future.

I painted that!! A close-up look at the glazing effects in my copy of Ingres' portrait.

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